What I do
I created this area to describe the work I enjoy and how I go about it. My first shot at this was trying to illustrate the process of making an aviation painting destined to be submitted to the Guild of Aviation Artists Summer 2012 exhibition. I now include a similar "day by day" account of the creation of a wildlife painting. So instead of propellers and people the problem now is fur and rocks!

I've had a couple of cracks at wildlife before as you have seen on this site and at www.painters-online.co.uk where I have posted similar images. This time I was inspired to try the Leopard after attending a workshop given by Chris Jones at the Nature in Art Museum in Gloucester. Chris is an internationally known artist and a very good teacher. Although the course was "Painting fur and feathers in acrylics", I've taken some of his advice and used it to provide a framework for this oil painting.

The Wessex makes an appearance

Arrival of the Wessex and more deck work.
Adding to the action
You may have noticed the rough outline of a Wessex in the previous image. Here I establish the helicopter in a more central position. My initial placement would have elongated the action of the painting and I wanted to keep the whole thing much tighter. I've used both cadmium red and yellow here to show the vivid colours of the safety helicopter. Throughout the painting my palette has been restricted to these colours:
Prussian Blue
Ultramarine Blue
Yellow Ochre
Burnt Umber
Burnt Sienna
Titanium White
As in all aspects of Aviation painting research is very important. Photos from the Wessex at Newark Air Museum help even though it is in "Junglie" green. The internet provides endless images but I am careful to drawn the aircraft in an attitude of my own devising and not simply copy a photo.
I give more attention to the deck. I want it wet to give decent reflections and give me the opportunity to put water spray around the area of the props to give more impact.